Hulu bids due questions loom

Fresh instances of shows like Fox's "Family Guy" are popular on Hulu. A Hulu video player shows programs like "The Colbert Report." The proprietors of Hulu are because of receive first-round bids today, using the winning company likely to create a splash within the already turbulent seas of digital entertainment.Google, Amazon . com, Yahoo and DirecTV are stated to become potential suitors, climax entirely possible that current proprietors News Corp., NBC-Universal and Wally Disney Co. could choose to keep the service. Apple and Microsoft aren't regarded as as likely purchasers, though their deep pockets and tech savvy make sure they are too harmful to eliminate entirely. It's too soon to discount every other comers, but one sure outlier is Netflix, which signaled in the second-quarter earnings call it had no intent to pursue Hulu. That may finish up a unlucky decision given whichever buyer does snap up Hulu will probably pursue the Los Gatos, Calif.-based market leader, with a substantial lead in excess of 25 million customers.Merriman Capital analyst Eric Wold estimations that Hulu could fetch between $500 million to $2 billion. Inside a research note Monday, he recognized Google and Amazon . com because the top challengers because Hulu could represent a quantum leap within the modest forays they have made up to now into acquiring premium content.The broad cost range reflects the uncertainty over just what a buyer could be getting. Probably the most valuable areas of Hulu would be the certification deals the streaming service has using its principals that provides series programming from tv stations Fox, NBC and ABC the moment 24 hrs after its original airdate. While News Corp. and Disney have restored individuals deals to assist the purchase, it is not known just the number of years they'll let Hulu keep that content. The most recent instances of hits like "Family Guy" and "WorkInch would be the greatest draws on Hulu, that has also started to license and develop original content for example its new Morgan Spurlock series "Each Day within the Existence."Another essential deal term with uncertain conditions is when rapidly series range from on air to online. Just a week ago Fox extended the delay on its shows in one to eight days unless of course the viewer includes a subscription to Dish Network that will grant authenticated access or Hulu Plus. Fox is about the search for additional multichannel companies that may reserve the main one-day delay for their customers, along with other tv stations like ABC are required to follow along with suit too.The move toward authentication and also the impetus to market Hulu itself really are a recognition of the matter that the congloms possess a greater financial incentive to safeguard the retransmission-consent costs they discussed with MSOs compared to mixture of advertising and subscription revenues they acquired from Hulu.But therein lies the $2 billion question: Will Hulu be reduced to some shadow of their former self if next-day use of top primetime shows aren't easily available to everybody? While Hulu offered 963 million video advertisements in This summer, based on Comscore -- much more than every other website -- its impressive metrics might be seriously reduced soon considering the fact that Fox started tightening its reins by August. 15.Hulu has started to stress characteristics apart from its traffic prior to the purchase. Earlier this year, it declared its intent to grow into Japan -- among the only regions Netflix has not stated among a rash of latest reviews that begin to see the brand moving everywhere from Latin America to Europe.Hulu also barely addressed its core ad-supported business inside a corporate blog publish attending its second-quarter results. Boss Jason Kilar forecasted that Hulu is on the right course to top a million subs for Hulu Plus through the finish of summer time. Although this number continues to be well below Netflix, Kilar was basically positioning Hulu Plus like a potential vehicle for giving chase to Netflix.For interested companies, the need for Kilar themself might be second simply to those of this content deals. The well-regarded as Boss defied dim anticipation to influence a road to the forecasted $500 million in revenues Hulu projects to reap this season, a task made even more difficult by fighting with multiple proprietors with varying agendas. Contact Andrew Wallenstein at andrew.wallenstein@variety.com

Legendary East To Boost $220.5M Through Hong Kong For Film Studio From China

Thisannouncement about another Hollywood-China deal wasjust published towards the Hong Kong Stock Market website previously hour.The result is Legendary Entertainment'sJune news it created Legendary East, a stand-alone entertainment company creating feature film and related content for any worldwide audience. Legendary East relies in Hong Kong, with Chinese management andinternational traders in addition to Thomas Tull's Legendary Entertainment.Today, Legendary East introduced an investment vehicleto inject $220.5M of cashfromPaul Y Engineering Group Ltd by giving new shareson the Hong Kong stock exchange. An investment allows Legendary East to become fully funded studio operating from China."A vital feature of the structure is it provides liquidity for individuals traders in Legendary East which are trading through PYE because PYE's shares are openly exchanged about the HKSE," an insider emails me.Legendary East is brought by Boss Kelvin Wu and Tull, its chairman who isalso chairman/Boss of Legendary Entertainment.As formerly introduced, China media conglomerate Huayi Media will require a vital role as local Chinese production and distribution partner and investor in Legendary East: Hong Kong/La (August 21, 2011) Leading global media company Legendary Entertainment ("Legendary") and Hong Kong-listed Paul Y. Engineering Group Limited ("PYE") (HKSE stock code: 577), today introduced PYE like a potential new investor in Hong Kong-based partnership, Legendary East Ltd. ("Legendary East"). PYE will get a 50% curiosity about Legendary East for any total thought on US$220.5 million. This is funded with a suggested placing of recent shares by PYE to personal equity firm AID Partners, and through UBS AG, with other institutional and professional traders. Legendary East also expects to determine a credit facility to finance film productions and procedures. At closing, Legendary East is going to be collectively held by Legendary and people of Legendary East management (40.1%), PYE (50%) and Huayi Siblings Worldwide Limited ("Huayi Siblings") (9.9%). AID Partners has joined right into a subscription agreement to get US$35 million in PYE, and can be a significant investor of PYE. Legendary East was lately established because the Asia arm of leading global filmmakers Legendary Pictures, having a concentrate on developing and creating world-class British-language films that take advantage of the effective fandom demographic and use Legendarys Chinese ties. The organization may be the vision of Thomas Tull, Legendary Entertainment Chairman and Boss, who together with Chinese born Hong Kong media and finance entrepreneur Kelvin Wu, produced the venture. Legendary East initially intentions of creating one or two major, event-style films yearly for worldwide audiences, from 2013. Thomas Tull, Chairman and Boss of Legendary Entertainment and Chairman of Legendary East said, "We're happy that PYE has devoted to Legendary East. This really is another essential milestone following a recent announcement of Legendary Easts formation. We share a typical vision with PYE by using Chinas rapid economic growth and wealthy cultural background, this can be a filmmaking marketplace increasing. We're devoted to China and also the surrounding region for that long term, and also to creating entertainment that's globally appealing in quality, scale and impact." Tom Lau, Deputy Chairman of PYE, stated, "This proposal to purchase Legendary East isn't just highly value accretive towards the PYE investors, additionally, it provides an attractive chance to broaden and refocus PYEs business activities to make use of the lucrative potential from the filmmaking business in China. We feel the mixture of Legendarys world-class experience of film production, and Huayi Siblings local production and distribution abilities in China, signifies an extremely strong chance for PYEs future growth." Kelvin Wu, Principal Partner of AID Partners and who'll become Legendary East's Boss, stated, "AID Partners is going to be trading US$35 million in Legendary East via PYE, showing our tremendous confidence within this venture as well as in the possibilities for Legendary East to provide massive, world-class films from the Greater China region. Using the combined support of Legendary Entertainment and it is highly effective business design, and also the rapid development of china film market, we're excited to stay in Hong Kong and also to lead to its momentum to restore its status because the Hollywood from the East." Legendary Easts local co-production and distribution partner in China is going to be its proper investor Huayi Siblings, a number one Chinese film conglomerate. Distribution from the films in most other areas from the globe is predicted to become handled by Warner Bros. Pictures, with whom Legendary includes a lengthy-standing relationship. The partnership will initially have five board people, with two hired by Legendary, two hired by PYE and something hired by Huayi Siblings. The board will collaborate carefully having a seasoned management team at Legendary East who've significant experience dealing with Hollywood galleries in addition to Western and Chinese entertainment companies. Legendary East was advised within the suggested placing and constructing of recent shares by PYE by financial experts Centerview Partners LLC. Legendary was advised within the constructing and formation of Legendary East by Goldman, Sachs & Co. Both Legendary and Legendary East informed by lawyers OMelveny & Myers LLP in La and Hong Kong. Anglo Chinese Corporate Finance, Limited may be the financial consultant and Reed Cruz Richards Butler may be the legal consultant to PYE. UBS AG may be the placing agent for PYE. Paul, Weiss, Rifkind, Wharton & Garrison LLP advised Goldman, Sachs & Co. The transaction is susceptible to the fulfillment of certain conditions, including approval from PYEs investors in a Special General Meeting.

EMMYS: Q&A With Scott Buck Of 'Dexter'

Six-time Emmy nominee Scott Buck had writing and producing stints on HBO's Six Feet Under and Rome before joining the Showtimeserial-killer-with-a-heart-of-gold drama Dexter for its second season in 2007. He's worked his way up from co-executive producer toshowrunner (he was named last December) in advance of shooting the shows 6th season thatpremieres on October 2nd.Dexter landed its4th consecutive Outstanding Drama Series Emmy nomination this time around the firstShowtime series to achieve that particular feat. Buck spokewith Deadline TV Contributor RayRichmond: DEADLINE: So Dexter had its highest ratings ever during Season Five. You averaged more than 5 million viewers a week between regular TV and on-demand. And yet a change is made for Season Six and you're elevatedto showrunner. Why? SCOTTBUCK: Yes, we'd just came off a great year. But the show that I was coming in to run had undergone a lot of changes by virtue of where the storyline was alone. I guess someone believed that it was time for achange and Id earned the promotion. Though as Ive never run a show before,its not a job I take lightly. Im swimming as fast as I can to cut down on thelearning curve. DEADLINE: Usuallythese transitions arentsmooth. BUCK: Thatsprobably true. I feel fortunate in that regard. It was sort of a combination ofmy being drafted and volunteering. Ive already found how different it isrunning a show from being an exec producer. In my previous job, theresponsibility was wholly writing. With this, Im supervising the writing andeverything else. So its a lot more responsibilityand a little more money. Letme just say that it wasnt a position that I eagerly pursued.I waspretty happy doing what I did before. Running a show is an entirely differentanimal. Its very much a learning process, and Im doing the best I can.Fortunately, Im working with a lot of very smart, very skilled people. DEADLINE: So now Dexter has made Showtime Emmy history. BUCK: I was here as a writer and executiveproducer, and these Emmy nominations arent something that anyone around heretakes for granted. The day the nominations come out is always a big cause for celebrationand going out for drinks. DEADLINE: Though itwould probably be even cooler if you guys finally won in the dramacategory. BUCK: Ofcourse. But getting nominated every year isnt too shabby, either. DEADLINE: How didyou come to Dexter in its 2ndseason? BUCK: I was working onRome at the time when wed all heard the idea that Showtime would be doing ashow where a serial killer was the lead. It seemed like a ridiculous idea thatno one should take seriously at all. I mean, it just sounded so hokey. But whenI heard Michael C. Hall would be starring, it got my attention, because I trusted hisjudgment.Its interesting the way the concept has morphed. The Dexter characterhas evolved so much season after season. Hes surprisingly different now than hewas in the beginning. We had the writers all re-watch Season One before we gotstarted this year of Season Six. We wanted to get back to some of that fun theyhad during the first season. It startled us how much Dexter himself had changedfrom those first few episodes. DEADLINE: What can we expect for Season Six? BUCK: Weskipped ahead a year this season and cleaned the slate, and Dexter is finallydone grieving the loss of his wife from the end of Season 4. Hes largely dealtwith that now in Season 6. Hes put it in the past, and well now be seeing astronger Dexter than ever before. And hopefully, we wont be killing off anymajor character this season. But top to bottom, from our cast to our crew, weall feel especially excited and energized and motivated this year. DEADLINE: You must getasked all the time when Dexteris finally going to wrap as a series. BUCK: To beperfectly honest, it hasnt come up yet for discussion.Imean, were all confident that it will come up. But were not working towardthe end just yet. How youll wrap is the kind of thing you want to know atleast a season in advance, and we havent discussed it yet at all, so thatshould tell you something. Everyone will want to check in and theyll all do itwith a slightly different idea of what should be done. And well definitelyhear everyones thoughts. DEADLINE: So yourerunning a democracyon Dexter rather than a dictatorship? BUCK: Iguess I am.

5 Most Pointless Remakes

5 Most Pointless Remakes By Christy Lemire August 19, 2011 Photo by Columbia Pictures/Jasin Boland "The Karate Kid" La (AP) This is just one of individuals days is which five options aren't nearly enough. We are speaking about unnecessary remakes, which virtually means ... these.Uncommon may be the remake that really enhances about the original this year's "The Auto technician" with Jason Statham springs in your thoughts. However the original versions of "Assault on Precinct 13" or "The Longest Yard" or "The Taking of Pelham 123," for instance, were all right on the own, and in their own individual time.With this particular week getting new versions of "Conan the Barbarian" and "Fright Evening," we are going to pay attention to movies that never should happen to be touched. Stop me if you feel you've heard that one before:"Psycho" (1998): Virtually nobody is going near Alfred Hitchcock, ever. But when you are daring enough to test, you need to avoid carrying out a shot-by-shot remake of the items is most likely the masters best-known film. Still, you need to admire Gus Van Sant's chutzpah. He shot it colored that's different and added a couple of slight tweaks. Vince Vaughn plays the legendary Anthony Perkins role of Norman Bates and Anne Heche fills set for Jesse Leigh as Marion Crane. But apart from that, it is the same figures, same dialogue, same camera angles, the same Bernard Hermann score from 1960. This is an intriguing exercise but, ultimately, a noble failure."Town of Angels" (1998): Wim Wenders' "Wings of Desire" (1987) is really a modern classic, also it featured among the finest performances by the late Peter Falk. Melancholy, thoughtful and aesthetically arresting, it adopted unseen angels who viewed over Berlin, watching individuals actions, hearing their ideas, silently shaping their lives. "Town of Angels," in comparison, was too apparent it typed everything out, its feelings were too tidy. Kaira Silberling switched this subtle story right into a simple romantic comedy starring Nicolas Cage (being an angel) and Meg Ryan (like a heart surgeon), two stars who make simply no sense together."The LadiesInch (2008): George Cukor's 1939 cat fight, in line with the abide by Clare Boothe Luce, was intended like a satire of society mavens as well as their frivolous lives. In pointing the very first time and writing the script, "Murphy Brown" creator Diane British made it a celebration. Sure, it had an exciting-female cast of solid stars (Meg Ryan, Annette Bening, Cloris Leachman), as did the original, though possibly less than the stellar collection that incorporated Norma Shearer, Joan Crawford and Rosalind Russell. Cukor's tone and timing were missing British applied all of the lighthearted instincts of her sitcom background apparently no experience from the source material."The Invasion" (2007): There've been many versions from the sci-fi classic "Invasion from the Body Snatchers," but that one had the least bite. Nicole Kidman, Difficulties and Jeffrey Wright visited waste like a couple of from the last people who handled to stay uninfected whenever a gloopy substance from space required within the population, turning people into emotionless drone versions of themselves. The entire point of the story happens to be for everyone like a reflection of their occasions, be it creating a statement about McCarthyism (1956) or Vietnam and Watergate (1978). This time around, there have been passing TV news references towards the war in Iraq and North Korean leader Kim Jong Il, however the film's political ideology felt thrown-in and half-baked. For the worst situation, it had not been the smallest bit frightening or suspenseful."The Karate Kid" (2010): This really is of course an individual, nostalgic choice. However for anybody who was raised within the 1980s, "The Karate Kid" inspires an in-depth fondness. Harold Zwart's version maintained the fundamental structure as well as some key particulars, such as the sweep-the-leg moment within the finale. It moved the setting from La to Beijing, that's no large deal. The primary problem was the casting of Jaden Cruz, who had been many years more youthful than Rob Macchio was and appears even more youthful. And thus neither the fighting nor the romance having a girl who's from his league two key aspects of "The Karate Kid" made sense.Copyright 2011 Connected Press. All privileges reserved. These components might not be released, broadcast, rewritten, or redistributed. 5 Most Pointless Remakes By Christy Lemire August 19, 2011 "The Karate Kid" PHOTO CREDIT Columbia Pictures/Jasin Boland La (AP) This is just one of individuals days is which five options aren't nearly enough. We are speaking about unnecessary remakes, which virtually means ... these.Uncommon may be the remake that really enhances about the original the 2010 "The Auto technician" with Jason Statham springs in your thoughts. However the original versions of "Assault on Precinct 13" or "The Longest Yard" or "The Taking of Pelham 123," for instance, were all right by themselves, and in their own individual time.With this particular week getting new versions of "Conan the Barbarian" and "Fright Evening," we are going to pay attention to movies that never must have been touched. Stop me if you feel you've heard that one before:"Psycho" (1998): Virtually nobody is going near Alfred Hitchcock, ever. But when you are daring enough to test, you need to avoid carrying out a shot-by-shot remake of the items is most likely the masters best-known film. Still, you need to admire Gus Van Sant's chutzpah. He shot it colored that's different and added a couple of slight tweaks. Vince Vaughn plays the legendary Anthony Perkins role of Norman Bates and Anne Heche fills set for Jesse Leigh as Marion Crane. But apart from that, it is the same figures, same dialogue, same camera angles, the same Bernard Hermann score from 1960. This is an intriguing exercise but, ultimately, a noble failure."Town of Angels" (1998): Wim Wenders' "Wings of Desire" (1987) is really a modern classic, also it featured among the finest performances through the late Peter Falk. Melancholy, thoughtful and aesthetically arresting, it adopted unseen angels who viewed over Berlin, watching individuals actions, hearing their ideas, silently shaping their lives. "Town of Angels," in comparison, was too apparent it typed everything out, its feelings were too tidy. Kaira Silberling switched this subtle story right into a simple romantic comedy starring Nicolas Cage (being an angel) and Meg Ryan (like a heart surgeon), two stars who make simply no sense together."The LadiesInch (2008): George Cukor's 1939 cat fight, in line with the abide by Clare Boothe Luce, was intended like a satire of society mavens as well as their frivolous lives. In pointing the very first time and writing the script, "Murphy Brown" creator Diane British managed to get a celebration. Sure, it had an exciting-female cast of solid stars (Meg Ryan, Annette Bening, Cloris Leachman), as did the initial, though possibly less than the stellar collection that incorporated Norma Shearer, Joan Crawford and Rosalind Russell. Cukor's tone and timing were missing British applied all of the lighthearted instincts of her sitcom background apparently no experience from the source material."The Invasion" (2007): There've been many versions from the sci-fi classic "Invasion from the Body Snatchers," but that one had minimal bite. Nicole Kidman, Difficulties and Jeffrey Wright visited waste like a couple of from the last people who handled to stay uninfected whenever a gloopy substance from space required within the population, turning people into emotionless drone versions of themselves. The entire point of the story happens to be to function as a reflection of their occasions, be it creating a statement about McCarthyism (1956) or Vietnam and Watergate (1978). This time around, there have been passing TV news references towards the war in Iraq and North Korean leader Kim Jong Il, however the film's political ideology felt thrown-in and half-baked. For the worst situation, it had not been the smallest bit frightening or suspenseful."The Karate Kid" (2010): This really is of course an individual, nostalgic choice. However for anybody who was raised within the 1980s, "The Karate Kid" inspires an in-depth fondness. Harold Zwart's version maintained the fundamental structure as well as some key particulars, such as the sweep-the-leg moment within the finale. It moved the setting from La to Beijing, that's no large deal. The primary problem was the casting of Jaden Cruz, who had been many years more youthful than Rob Macchio was and appears even more youthful. And thus neither the fighting nor the romance having a girl who's from his league two key aspects of "The Karate Kid" made sense.Copyright 2011 Connected Press. All privileges reserved. These components might not be released, broadcast, rewritten, or redistributed.

Chuckled behind: Single-cam's ascendancy continues

Single-cam laffers for example '30 Rock' have attracted film stars to TV. 'Glee' runs about as far afield of the traditional multicam sitcom every comedy nominee could. From the six Emmy nominees for comedy series this season, just one, "The Large Bang Theory," is really a multicamera sitcom. Others -- "Modern Family," "Work,Inch "Parks and Entertainment," "30 Rock" and "Glee" -- are shot single-camera.Showrunners past and offer agree single-camera and multicamera have equal possibility of laughs, however the Emmy nominees are symptomatic of the pendulum swing -- but it is unlikely the pendulum will swing back. The present single-camera trend is opening the doorway for ambitious yet mainstream TV comedy, creating new conventions future showrunners can later defy.Multicamera was made popular since it broke with tradition. "You consider the '60s, and much of your hit comedies are 'The Beverly Hillbillies,' 'Get Smart' and 'The Andy Griffith Show,' " states Ken Levine, who labored like a author and director on "MASH," "Cheers," "Frasier," "The Simpsons" and many more. "The '70s (in reaction) grew to become an extremely multicamera-focused decade."And also the 1980s. And also the 1990's. Soon, for each "Seinfeld" or "Cheers," there have been, roughly, a bajillion multicamera sitcoms that did not measure. Systems were starting to depend about the plug-and-play formula: Body fat guy would be to hot wife as meat would be to taters."There is a rhythm you fall under with setup-punchline-laugh, setup-punchline-laugh -- it's natural within the form," states "Modern Family" professional producer Steve Levitan, creator of "Just Shoot Me" and "Back.Inch "You hit the jokes pretty hard. And I am inside a mode where even on the well-written multicam, I am locating the laughtrack incredibly annoying."Audiences -- maybe due to reality TV, maybe due to YouTube and also the Internet -- are desiring stuff that feel more authentic and real," he adds.Single-camera gives itself to authenticity. It's less like theater and a lot more like film, employing closeups and often documentary-style interviews to share comedy in an intimate level. Stars play towards the camera, not the studio audience.Jokes can work on a purely visual level, too. Edits and closeups can elicit laughs only for how they are shot, and alterations in locale are proven, not basically spoken about. "You are able to perform a more subtle portrayal of human behavior," states "30 Rock" professional producer and star Tina Fey. "It's naturally a bit more presentational compared to multicamera format. You will get inside characters' heads."And since these shows have a lot of moving parts, "They have permitted professionals to prevent destroying things," stated fellow "30 Rock"-er Robert Carlock throughout a panel in the Only for Laughs festival.Executives were fearful from the form from the beginning. "Should you request lots of network executives, they'll tell you just how for a number of years, single-camera meant less funny," Levitan states. "It had been a bit more dry or clever, however it did not always mean large laughs. But in the finish during the day, a show fails and works depending on its figures. If 'Modern Family' were a multicam, Let me think it might still work."The following groundswell of single-camera comedies transported by using it an unpredicted perk: film stars. Alec Baldwin, Take advantage of Lowe and Elijah Wood have found their method to single-camera comedies, and also the talent pool continues growing."You will get more inticate stars in single-cam since it is a lot more like movies," Fey states. (In drama, too: "Best of luck to Bryan Cranston to find an element role just like he's on 'Breaking Bad,' " Levine states.)Television has become a location where stars and storytellers can practice their craft uninhibited. "The cream is booming up,Inch Levine states -- it so happens the cream nowadays is shot with one camera.Levine can't help but think about yesteryear. " 'Everybody Loves Raymond' went of their method to be absolutely old-fashioned, which show come in distribution for an additional half a century,Inch he states. "Whereas 'Community,' a show that's very stylish, I question, whenever you look in ten years, whether it's going to resemble a watch."So sure, you will find great multicamera comedies and you will find great single-camera comedies. However when Levine discusses the near future, he talks about more experimentation: 15-minute joke-a-thons like "Kids Hospital," bold comedy video-logues like "Louie." Your camera itself turns into a vehicle for comedy in single-camera, and also the industry appears not wanting to hand back the secrets.Route To THE EMMYS: COMEDYLaughed behind Old toon comedies remain Emmy-freshThe nominees Contact the range newsroom at news@variety.com

Star Wars app previews Blu-ray features

Fox Mobile Entertainment has released an app that shows off some of the bonus features from the upcoming Blu-ray release of Star Wars: The Complete Saga.The Star Wars Blu-ray: Early Access App is available for free download at the iTunes store for Apple iPad, iPhone and iPod Touch owners.A spokesman said it offers "a sneak peak at the 40-plus hours of bonus footage on the Blu-ray collection"."The App, available for all iDevices including the iPad and iPhone will highlight a sampling of bonus materials featured in the Blu-ray collection, including never-before-seen content sourced from the Lucasfilm Archives such as matte paintings and concept art; prop, maquette and costume turnarounds; supplementary interviews with cast and crew; and more," an official statement said. Star Wars: The Complete Saga is released on Blu-ray on 12 September 2011.

'The Help' helps itself to $5 million bow

Based on early projections, DreamWorks' "The Help," distribbed by Disney, is on track to gross $5 million today from 2,511 Stateside locations. The film's midweek start isn't a cause for celebration, nor is it reason for concern. For starters, "The Help" had a modest budget of $25 million. Plus, midweek launches rarely set the frame ablaze, especially with heavily-targeted pics that skew toward adult audiences (over-25 moviegoers usually wait until the weekend to visit the plexes). But the film's projected $5 million start is less than what comparable title "Sisterhood of the Traveling Pants 2" earned during its Wednesday launch ($5.7 million). That pic eventually grossed $19.6 million in five days -- in line with what Disney is expecting for "Help," but lower than most other B.O. projections. "The Help" looks to kick start a steady word-of-mouth campaign through the weekend, based on positive buzz. Pic will add roughly 30 locations in smaller U.S. markets on Friday. Contact Andrew Stewart at andrew.stewart@variety.com

Tyler Posey stars in taco truck comedy

PoseyMaya Entertainment will produce indie comedy "Taco Shop" with Tyler Posey ("Teen Wolf") toplining.Ron Najera will produce together with Robert A. Parada of Streetwise Entertainment and Moctesuma Esparza and Sandra Avila of Maya."Taco Shop" is going to be directed by Joaquin Perea with production beginning this month. Script, compiled by Najera and Oskar Toruno, focuses on a youthful guy who quits his taco shop job to spread out their own shop -- but finds themself within an all-out war whenever a gourmet taco truck parks next door. Pic also stars Carlos Alazraqui, Eric Roberts, Felipe Esparza, Laura Harring, Paula Jai Parker and Parvesh Cheena.Maya has worldwide privileges will distribute locally. Contact Dork McNary at dork.mcnary@variety.com

Rachel Weisz: Could She Be Back In The Oscar Game?

With the recent announcement of selections for this year's Toronto International Film Festival Rachel Weisz discovered she is going to be there with two films , The Deep Blue Sea and Fernando Meirelles' ensembler, 360. But it was her acclaimed performance in another Toronto film - from the 2010 fest - that she most wanted to discuss when I recently caught up with her. After its 2010 Toronto Film Festival premiere buzz started on awards prospects for The Whistleblower star Weisz's intense and emotionalperformance.But after the fest filmmakers went back into editing and toned down the harrowingrape scenes and further shaped themovie which finally gets released today through TheSamuel GoldwynCompany which hopes the awards buzz will pick up again, especially if the distributor can get any boxoffice traction in a crowded marketplace for small movies like this one. Although it received mixed reviews after its Toronto unveiling there was near-unanimous praise for Weisz's portrayal of real-life Nebraska cop Kathryn Bolkovac who took a job as a peacekeeper in post-war Bosnia only to uncover a web of corruption , sexual trafficking and United Nations cover ups when she arrived there in 1999. The real story turned out to be too intense to show the way it really was. "In fact the rape scene was cut down after the Toronto screening by the studio, which I completely understand. It would be just too harrowing for people to watch. What actually happened was so much worse. I mean the stories I could tell you from the first person who encountered these young women. That was the 'light' version if you can believe that. But it isn't a documentary, you don't want to destroy people. You just want to illuminate something that actually happened that was a hundred times worse," she says. Weisz, who won a Best Supporting Actress Oscar for 2005's The Constant Gardener is proud of what they were able to get on screen, and particularly that it comes from a woman and first time feature filmmaker, Larysa Kondracki. Since it is a true story she feels a great responsibility to get it right. "It was a great, great character to get into the skin of, like an Erin Brockovich or Karen Silkwood, stories about ordinary women , both moms, who come across something unjust and go up David and Goliath-style against a huge organization or corporation and risk their lives to do what's right. I just love this kind of story. It's inspiring," she says. But the fact is when it was first offered she was pregnant and turned it down feeling it wouldn't be something she could subject herself to at the time. Fate intervened and the project eventually came full circle back to her. Because of the indie nature of the film and the low budget she didn't get the opportunity to meet the true life subject of themovie, Kathryn Bolkovac until about a week into filming when she came to visit the set. "She was there for I think a couple of weeks. I kind of absorbed her every possible moment ... but we don't look similar and this isn't a biopic. I know (in Erin Brockovich) Julia Roberts got the breasts (laughs). I didn't try to emulate her appearance. But I did try to capture her spirit and her center of gravity, which is very different from me. I mean I'm just not brave like that," she says. Weisz has been working non-stop lately and has had a lot of projects offered after winning that Oscar five years ago. But she's not about to say the statuette completely changed things for her. "I'm sure it's helpful. The main thing that I noticed happening was very interesting directors were suddenly offering me jobs. That is always lovely. And it was an incredible moment, very career-changing in that sense. It puts you on the map with directors that you might not always get to work with," she says. Among the A-list directors she has films with this year are David Hare (Page 8), Jim Sheridan (Dream House), Terrence Davies (The Deep Blue Sea), Terrence Malick's untitled next film, Tony Gilroy (The Bourne Legacy), a reunion with her Constant Gardener helmer Fernando Meirelles on 360 , and the film she is currently shooting in Detroit with Sam Raimi, Oz: The Great and Powerful which is a prequel to The Wizard of Oz. "James Franco plays the Wizard and gets to Emerald City where he finds the Wicked Witch of the East, me, and my sister The Wicked Witch of the West, Mila Kunis and Michelle Williams who is the Good Witch Glinda. It's all so creative and such fun, " she says mentioning they are shooting in Raimi's home town, Detroit where she says he always wanted to go back and film. So there is a big studio there where they have built the Emerald City. With all this cinematic activity she also somehow found time to marry her Dream House leading man, Daniel Craig just months after announcing her split from partner Darren Aronofsky. As for being a newlywed? "I'm very , very happy and very blessed," she says. And busy.

SUBWAYStories Tales in the Subterranean

The particular encounters of recent You are able to City subway riders are dramatized in an accumulation of 10 intriguing, notable and completely different vignettes. The tales showcase an ensemble of familiar faces, and vary from tales of empathy and like to insights on violence and loss. Included in this: a disabled beggar quarrels having a lady and ruins her footwear together with his motorized wheel chair, invoking viewers to wrath and pity a skittish tourist turns out to be her very own worst enemy a newlywed trysts having a mysterious sexpot a commuter helplessly witnesses a suicide attempt and, within the most affecting segment, a youthful lady grieves over her mother's imminent dying.

Elliott Kozak dies at 80

Elliott Kozak, Bob Hope's producer in excess of 3 decades who also offered sometimes as his agent and manager, died This summer 23 of complications after recent surgery in Tarzana, Calif. He was 80. Although he criss-entered backwards and forwards between work with Hope as well as for various talent agencies throughout his 65-year career, he was known mainly in the market because the "go-to" person for anything Hope-related. Brooklyn-born Kozak started his career in 1945 at 15 in the William Morris Agency mailroom in New You are able to. Within 3 years he grew to become a complete-time agent within the TV variety department, booking "The Milton Berle Show" and "The Ray Bolger Show," amongst others. At some point throughout his time at WMA, Kozak did a big favor for Colonel Tom Parker and also got a youthful Elvis an audition on "Arthur Murray's Talent Scouts," but Elvis and also the band were rapidly declined. In 1959, on the tip from Berle, Kozak found that Hope's longtime agent, Jimmy Saphier, was searching for anyone to help book Hope's NBC special offers, so he left for that West Coast to start an amount be a decades-lengthy on-and-off relationship with Hope. In 1969, Kozak came back to William Morris for any three-year stint within the TV variety department in La, assisting to shepherd a youthful Michael Ovitz, in addition to Kozak's assistant, future mega-manager George Shapiro. Within the TV packaging department, Kozak packed "Laugh-In" and reserved "The Merv Griffin Show," among other shows. In 1972, Kozak came back for you to again, this time around joining up with Saphier, and grew to become Hope's primary agent after Saphier's dying in 1974. Kozak was soon creating Hope's many NBC special offers, matching his looks and running his production office.In 1979, Kozak was hired to operate ICM's TV variety department, that he attracted a range of A-list producers and company directors, including Gary Cruz & Dwight Hemion and Steve Binder. But his high-crowning achievement was a wedding anniversary reveal that Motown's Suzanne p Passe introduced him in 1982 which he offered to NBC like a two-hour special and ICM package. "Motown 25: Yesterday, Today, Forever" won an Emmy for the best TV special, plus an NAACP Image Award along with a Peabody Award, and grew to become among the greatest-ranked shows in television history.Following a Motown project, Hope requested Kozak to come back for which could be his last run using the comedian by which he ongoing his prior responsibilities, serving also as his manager. In 1991, Kozak opened up up a West Coast office for Nashville's Buddy Lee Points of interest, where he'd remain through the the nineteen nineties. He was semi-upon the market from 2000 and spent the final decade of his existence booking personal looks.Kozak is made it by his wife, Marie, an old executive secretary for General Artists Corp. (now ICM) sons Steven, clearance coordinator at "Tonight Show With Jay Leno" and Robert kids Julie, wardrobe supervisor on "Extra," and Louise and 10 grandchildren. A memorial service is going to be held Sunday, August. 7, at 2 p.m. in the Samuel Goldwyn Theater in the Movie & Television Country House and Hospital in Woodland Hillsides, Calif. Contact Variety Staff at news@variety.com